‘For the performers’ by Scott Rubin, performed by Catchpenny Ensemble скачать в хорошем качестве

‘For the performers’ by Scott Rubin, performed by Catchpenny Ensemble

‘For the performers’ by Scott Rubin, performed by Catchpenny Ensemble. Recorded live during Gaudeamus Muziekweek 2019, Friday 6 September in Theater Kikker, Utrecht, The Netherlands. Since 2014 Rubin has been exploring a number of interdisciplinary ideas. Alongside the strictly musical he is involved with the relationship between movement and sound, directed improvisation, motion-sensitive live electronics, live video, the physical interaction between performers and a creative approach to the stage set. All these elements can be found in "for the performers" for two dancers, flute, bass clarinet, percussion, live video projections and motion-sensitive live electronics. The musicians move alongside the dancers and vice versa. The dancers are equipped with motion-sensors which influence the live electronics. In much of his work Rubin is searching for the relationship between movement and sound. He found three basic ways to think about it, as he explains in an interview with Gaudeamus: “The first is to interpret the physical motion that you see or the sound that you hear. The second is to consider the manual labour behind the surface level: what is a performer doing to make that movement or sound? The third is to consider the inner emotion behind the labour. So what is the dancer thinking when they’re holding this graceful pose? It’s probably psychologically arduous.” In his work Rubin explores various themes which are more linked to studies other than composition. He also studied psychology and focuses on subjects such as intimacy, power, identity and the innermost psychological states of mind. These themes also spread to the breaking of the fourth wall and the interaction which that causes between the audience and those on stage. A theme such as intimacy also returns during the creative process. "for the performers" is also a fitting title for Rubin's recent work, which in recent years has continued only thanks to the performers, and which can come about only through intensive collaboration. First sketches, electronics, and choreographic ideas only take shape in an intensive work- shop period with the nal performers. A score on a music stand behind which, for example, the bass clarinettist sits down, does not belong in Rubin's work. A musician behaves differently in "for the performers", more like a dancer. For more information visit https://gaudeamus.nl/en/ Subscribe at    / gaudeamusnl   Facebook:   / gaudeamusnl   Twitter:   / gaudeamusnl   Instagram:   / gaudeamusnl